Canadian Moving Picture Digest (Nov 1922-Apr 1923)

Page scan 000264 from Canadian Moving Picture Digest

Record Details:

Title:
Canadian Moving Picture Digest
Date:
Nov 1922-Apr 1923
Volume:
Canadian Moving Picture Digest (November 1922-April 1923)
Leaf #:
000264
Language:
English
Subjects:
Motion Pictures, Film Industry Trade Magazine",Canad
Collection:
Hollywood Studio System, Global Cinema, Early Cinema, and Canada
Format:
periodicals
Coordinator:
Media History Digital Library
Description:

Canadian Moving Picture Digest

Editors: Merrick R. Nutting (1917-18), Raymond S. Peck (1918), Ray Lewis (1918-19 and 1920-54), Walter Greene (1919-20), Jay Smith (1954-57)

Canadian Moving Picture Digest (1917-57) was initially a Montréal-based rival of the first film paper in Canada, Toronto-based Canadian Universal Bulletin (1915-18, edited by W.A. Bach 1915-17, J.W. Cambridge 1917-18, Raymond S. Peck 1918). The two periodicals were combined in 1918, keeping the Digest name, but moving production to Toronto with Peck as editor. Canadian Moving Picture Digest assumed The Bulletin’s volume numbering and always claimed 1915 as its year of origin. Ray Lewis (née Rae Levinsky) was a writer and playwright, who spent time in early Hollywood’s publicity departments. She briefly took the Digest helm in 1918, then long-term editor, later owner and publisher, from 1920 until her death in 1954. Under Lewis’s leadership, the trade paper claimed to serve as a voice for independent exhibitors and advocated for a Canadian cultural presence in cinema, particularly emphasizing British films as a way to keep a distance from Hollywood. Lewis's editorials were notable for their advocacy, wit, and critique of American dominance in the Canadian film market. While initially positioning herself as an outsider, she became integrated within the industry and a true insider. She even had an ongoing correspondence with Canadian Prime Minister R. B. Bennett, advocating for the industry as a whole and supporting British film imports. She was well-known at Toronto’s Dundas Square film row as well as in New York and Hollywood. Variety’s Sime Silverman called her “the Girl Friend in Canada,” and she delighted when U.S. writers not “in the know” presumed “Ray” was a man’s name. Lewis was later an inaugural member of the Canadian Picture Pioneers, eventually the group’s first female president and Pioneer of the Year. After she died in 1954, her son Jay Smith took over editorial duties until Canadian Moving Picture Digest was bought by Nat Taylor’s Film Publications of Canada in 1957. Taylor incorporated the legacy journal into a joint masthead for Canadian Film Weekly (1942-70), which subsequently dated its roots back to the 1915 origins of the film press in Canada.

– Jessica Whitehead and Paul Moore, March 2024

Further Reading

  • Whitehead, Jessica, Louis Pelletier and Paul Moore, “‘The Girl Friend in Canada’: Ray Lewis and Canadian Moving Picture Digest (1915–1957).” In Daniel Biltereyst and Lies Van de Vijver, eds., Mapping Movie Magazines: Digitization, Periodicals and Cinema History, 127-52. London: Pagrave-Macmillan, 2021.

Date Added:
July 31, 2025
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TORONTO, CANADA. A TRADE MARK DRAWS BECAUSE OF EXCELLENT PRODUCT De the past two weeks there has been mysterious whisperings regarding First National’s connection with the Temple Theatre at Hamilton. First National officials have clearly stated that they have nothing to conceal and are merely putting in working form a belief they have always held, that is, that an exhibitor giving a consistent presentation of First National pictures at a set admission price policy will be successful. First National believes that their pictures are the equal to the greatest produced ; that their percentage of proved box office attractions is relatively high. Those knowing the Hamilton theatre situation will agree that in selecting the “Temple,” First National has chosen one of the hardest propositions in Ontario to put over. It is also known that this house has not been successful for the past one and a half or two years. First National took over the theatre on a Saturday, and with no attempt made to put over the following week’s programme the receipts amounted to $325.00. The following week under an active advertising campaign, “The Dangerous Age,” did $942.42. This was followed by “Brawn of the North,’ which was given rather extensive exploitation, and the receipts for the week climbed to $1,123.56. These figures are open for the examination of any exhibitor and they can further be checked from the tax returns of the theatre. It is not the desire of First National to enter into the theatre field, but it has been a source of satisfaction to them to take a house like the “Temple” and increase its earning power almost 400 per cent. in a two weeks period. Pictures to follow in this house are Marshall Neilan’s “Minnie,” Richard Barthelmess in “Sonny,” Guy Bates in “Omar, the Tentmaker,”’ and Madge Bellamy in “Lorna Doone.” It must be admitted that First National has not selected all of the best pictures on their program, and credit is due them if they can continue the improvement shown above with this lineup without resorting to such mighty fine pictures as “Mighty Lak a Rose,” “The Hottentot,” “Fury,” “Bell-Boy 13,” and others yet to be released. DENTELBECK SECURES BURKO FOR CANADIAN THEATRE SUPPLY CO. M& C. A. DENTELBECK, president of the Canadian Theatre ‘Supply Company, in announcing that Mr. R. B. Burko, late of the Perkins Electric Limited, has joined their organiaation says: “While I appreciate that business 1s somewhat on the decline, due to the flu and possibly to the great number of people who have gone for winter sports. Are the exhibitors really plugging or are they sitting back and wondering how bad business is. “To my mind, it is the easiest thing in the world to make a house a backnumber, and the hardest to revive it. While good pictures are necessary, atmosphere plays second to none. To illustrate my meaning, not so long ago the manager of a rather pretty house overheard a patron remark to another that the show was not good. This astonished him. The picture had already proven successful, his house was cosy and nicely decorated. I happened to be in the booth shortly afterwards, and the operator mentioned that his machine needed eye-shields, but the manager could not see his way clear to purchase these, the reason being business was bad. Therein was the trouble. The operator was not giving his full attention to his work, Re sult the picture was not shown to its full advantage. You, yourself have possibly gone to see a show which was highly recommended and came away rather disappointed. This cause I sincerely believe to be attributed to your state of mind. You feel fine and yet somehow, you cannot enjoy it. Bad projection has done more to cause this feeling than anything else I can think of. Possibly 80 per cent. of your patrons do not know enough about projection to realize that it is bad, nevertheless they are effected and cannot account for it. In the case of the manager, a few dollars well spent, would possibly have remedied this situation. We must not forget that there is no better advertising, good or otherwise, than the “mouth to mouth” method. “However, we are very optimistic regarding the future, and are building an organization, which can be of good service to the exhibitor, if he cares to take advantage of this. Our first move was in obtaining Mr. Burko for our company. Mr. Burko, who I believe to be one of the foremost theatrical equipment men in Canada, has already professed eagerness to help the exhibitor solve his equipment problems.” Page Nine Mer. Vallee Comments On C.O.D. Ruling February 21, 1923. Moving Picture Digest, 27 Jarvis Street, Toronto. Dear Editor: | This is my _ opinion — regarding C.O.D.’s on films. It would be O.K. if the exchanges would only be conscientious. I will give you a few ex amples of troubles caused me _ by C.O.D.’s I had a shipment one time of a feature, $12.50; and comedy, $2.50, also advance posters. Received C.O.D. for $27.50 as follows: Feature $12.50, comedy $12.50, and_ posters $2.50, a mistake of $10.00 on comedy. Another time I was booked with a feature and comedy for a Sunday, received feature but no comedy. C.O.D. for feature and comedy. One time I was booked with a feature for a Friday and Saturday. The exchange changed the feature on me at last minute without notifying me and send shipment C.O.D., plus advertising on same, after I had paid for other advertising matters. Sometimes a concern will ship you C.O.D. with films advance posters for 4 or 5 weeks in advance, and then one week before showing, ship you another set of posters C.O.D. These are but a few instances with ’ which an exhibitor has to put up with. If only the exchange men were conscientious, these things would not (probably) happen. : Very truly yours, J. A. VALLEE, Roseland Theatre Co., East Angus. Pauline Garon, of Canada, To Play in “Terwilliger” Pauline Garon, young and beautiful winner of whirlwind starring honors for her excellent portrayal of Tillie, the flapper, in de Mille’s new picture, ‘‘Adam’s Rib,” has just signed a contract with Arthur H. Jacobs, producer of the new Frank Borzage Productions for First National. She will leave for Hollywood immediately after completing her role in George Melford’s film, “You Can’t Fool Your Wife,” which is being made in Manhattan. Miss Garon is due on the coast by the 24th, to play in her first scenario for Jacobs. It is “Terwilliger,” which was published in the Metropolitan Magazine, and serially in newspapers throughout the nation. The script is by Agnes Christine Johnston and rank Dazey, and will be personally directed by Frank Borzage. | OQIC Before et Pictures Read The Digest Advertising Pages.